NORMA - BELLINI
ROH, COVENT GARDEN (2000)
"THE DIVA MAKES THE EVENING.... Nelly Miricioiu has never received the attention that is her due.... If this Norma was intended to make amends, it did so handsomely, at least in so far as Miricioiu had a showcase for her talents... she was as successful as any of the singers of the last quarter century. It was Nelly Miricioiu's evening.
Richard Fairman - Financial Times - May 26th 2009
CONCERTGEBOUW, AMSTERDAM (1999)
"Nelly Miricioiu creates furore in exceptional Norma"
Kasper Jansen - NRC - 18th Jan 1999
MEFISTOFELE - BOITO
WASHINGTON OPERA, KENNEDY CENTRE (1996)
"Nelly Miricioiu, in the dual role of Margherita and Elena (Helen of Troy) is also extraordinary, delving deeply for the impossible low notes while soaring like a bird in the higher registers."
T.L Ponick - Washington Times
"... Nelly Miricioiu's throbbing, intense, furiously emotive Margherita..."
T. Page - Washington Post
ROYAL OPERA CONCERT, LONDON (1998)
"Nelly Miricioiu sounding like a young, limpid Maria Callas, as Margherita and Helen of Troy."
Hugh Canning - Sunday Times - March 1998
ANNA BOLENA - DONIZETTI
"Nelly Miricioiu is the adored soloist in Vara Broadcasting Network's concert performances in the Concertgebouw, and she scored another triumph in the title role of Anna Bolena."
Michael Davidson - Opera - May 1990
"...Miricioiu really accomplished vocal miracles of interpretation..."
The Vocal World - WETA-FM (NPR)
"She made the closing scene a happening. It is one of those rare moments when you felt what it meant for a Belcanto opera to suddenly become music of expression."
Opernwelt - June 1993
"As for Miricioiu, it is hard to imagine the heroines role being done more excitingly or effectingly... and it was impossible to detect any lack of beauty in the perfectly produced, seamlessly threaded legato of her final scene. She has a technique second to none...."
John McCann - Opera - 1993
QUEEN ELIZABETH HALL (2002)
"Expressive timbres, sureness through the registers, delicately moulded, word-sensitive phrasing, easy reserves of power (called upon only when apt) and exquisite, telling soft notes conspired in a performance technically accomplished and unaffectedly, emotional potent. Miricioiu delivered phrases that touched the heart."
Andrew Porter - Opera - 2002
LUCREZIA BORGIA - DONIZETTI
WASHINGTON CONCERT OPERA (1990)
"Lucrezia... was sung with a magnificent voice and intense dramatic projection by soprano Nelly Miricioiu. Nelly Miricioiu was not simply given a standing ovation at the end, but a stamping, shouting one..."
Joseph Mclellan - Washington Post
MARSEILLE OPERA (2002)
"Nelly Miricioiu and Donizetti's Lucrezia Borgia are a potent mix, as was demonstrated at the Opera de Marseille... one of the few sopranos today able to impart dramatic potency to the bel canto idiom.."
Joel Kasow - Opera - 2003
MARIA STUARDA - DONIZETTI
CONCERTGEBOUW, AMSTERDAM (1992)
"With Maria Stuarda Nelly Miricioiu made the second step towards the Donizetti cycle of Tudor Queens... The final scenes of the opera are all Miricioiu's; it was one half hour of supreme vocal beauty and emotion through music."
Peter van der Lint - TROUW - 1992
"Nelly Miricioiu was in excellent form once again making one wonder at the lack of imagination manifested by the recording companies in their consistent neglect of an incomparable performer."
Joel Kasow - Opera - 1996
ROBERTO DEVEREUX - DONIZETTI
CONCERTGEBOUW, AMSTERDAM (1994)
"... to the extreme you need a diva like Nelly Miricioiu to breathe new life in to the part... she found the right balance between technical accuracy and emotional surrender. Formidable."
Eddie Vetter - Telegraaf
ROYAL OPERA HOUSE, COVENT GARDEN (2002)
"There was much to praise, in particular an imperious vocal presence and great attention to words and vocal shading... in this role, dramatic instinct and commitment counts for a great deal, and here Miricioiu was second to none."
Roger Parker - OPERA - 2002
"But it was Miricioiu's opera, and ultimately her evening. Hers was the longest role and the most demanding, not merely in it's manifold technical difficulties but in its range of mood - suspicion, hope, love, hate, joy, pride and finally a bitter, crazed fury. All of these require expression, both in the enunciation of Cammarano's text and in the vocalising of Donizetti's taxing music. Even the greatest bel canto exponents might experience mishaps over such a long ordeal, but Miricioiu's diligent connection to words, music and meaning held out to the end in singing of outstanding consistency and command."
George Hall - Opera News
LUCIA DI LAMMERMOOR - DONIZETTI
LA SCALA (1983)
"... thunderous applause and nine curtain calls in the finale of the opera, has opened the doors of success for this singer."
Franco Damerina - Corriere della Serra - 1983
THAIS - MASSENET
CONCERTGEBOUW, AMSTERDAM (1985)
"She is being compared with Callas, and this is no exaggeration. What a voice! Agility, pure intonation, wonderful pianissimo - she has got it all... this was a magnificent performance of a full-blooded diva."
Frits Van der Waal - Volkskrant - 1985
IRIS - MASCAGNI
CONCERTGEBOUW, AMSTERDAM (2003)
"She wholly consolidated her reputation as the "Queen of the Matinee" and the heart and soul of this concert version of Iris was, without any doubt, Nelly Miricioiu, who sang the main role with exhilarating force and innocence at the same time. Whilst the moments of terror were inbedded in the same voice, as in her aria "Un di ero piccini", also the closing scene was an absolute highlight."
Mischa Spel - NRC Handelsblad (Translation)
ROBERT LE DIABLE - MEYERBEER
"As Isabelle, Nelly Miricioiu revealed impeccable technical control of her soprano. Wisely, the singer occasionally used a harsh quality for even more expression and insight in to the character; she turned her great aria "Grace pour to" in to one of the evenings high points. Histrionically, she was beyond fault as well."
Jochen Breiholz - Opera News - 2000
LES CONTES D'HOFFMAN - OFFENBACH
ROYAL OPERA HOUSE, COVENT GARDEN (1986)
"Nelly Miricioiu gives a highly sensitive and beautifully sung portrayal of Antonia. The voice is pure and capable of great strength, without losing its purity. She also eschews all trace of vanity."
Paul Griffiths - The Times - 1986
LA BOHEME - PUCCINI
THE METROPOLITAN OPERA, NEW YORK (1989)
"The Romanian soprano has a presence and personality that does not rely on volume or beauty of tone, but on a moment by moment awareness of precisely what Mimi says and does."
Bernard Holland - New York Times - 1989
TOSCA - PUCCINI
ROH, COVENT GARDEN (1996)
"Nelly Miricioiu had the requisite passion for the title role, plus a melting pianissimo that ravished the house with it's purity of tone."
Clive Hirshorn - Daily Express
ROH, COVENT GARDEN (2001)
"Nelly Miricioiu and Vladimir Gylouzine provide a Tosca and Cavaradossi to rank with the best in history."
Hilary Finch - The Times - 2001
CHOREGIES D'ORANGE (2000)
"The sumptuous Tosca of the beautiful and sensible Nelly Miricioiu created a character of rare and psychological intelligence."
Phillip Gut - L'Humanite
LA FIAMMA - RESPIGHI
"Nelly Miricioiu offers a striking portrait of Silvana... sensuous pianissimo and perfect (morbid) her acting gifts... everything recalls Callas..."
Sergio Segalini - Opera International (translation)
"The opera demands a soprano with a great vocal presence as Silvana - the flame of the title - and Nelly Miricioiu supplies that in abundance."
John Allison - The Times
"Nelly Miricioiu proved an unforgettable Silvana, her vocal line exquisitely shaped and coloured; the soprano's hauntingly emotional voice and presence are reminiscent of Claudia Muzio."
Steven Hastings - Opera News
"...it can only burn brightly when her role is taken by a soprano of really dramatic gifts and vocal allure. Miricioiu is in both respects ideal; she has the vocal strength for the Act 2 recognition of her powers but in the duet can fine her voice down to a hushed and beautiful sotto voce. Throughout she is quite riveting."
Michael Oliver - Gramophone
SEMIRAMIDE - ROSSINI
CONCERTGEBOUW, AMSTERDAM (1995)
"Queen of Bel Canto triumphs in Rossini. Miricioiu's interpretation of Queen Semiramide was phenomenal. There is, at this moment in time, no other singer that can match the Romanian soprano in this repertoire.
Roeland Hazendonk - Telegraaf
GENEVE OPERA (1998)
"Nelly Miricioiu's first performance of the title role in a staged production was riveting, her voice well controlled... The manner in which she takes possession of the stage offers a lesson to all aspiring performers."
Joel Kasow - OPERA
QUEEN ELIZABETH HALL, LONDON (1998)
"Miricioiu looked stunningly stylish and acted totally within role. We got marvellously controlled, flawless, extended rapid runs and leaps. Top-note climaxes were warmly trumpeted while trills were crisp and perfectly placed."
Tom Sutcliffe - Evening Standard
ERMIONE - ROSSINI
"... a never so intense sounding Miricioiu... as far as I remember, I have never heard a voice making such an intense, pure and exciting impression on my eardrums. Bravissima."
Peter van der Lint - Trouw - 1995
LA TRAVIATA - VERDI
SAN FRANSISCO (1983)
"Miricioiu was breathtaking. She must be believable. People around me were sobbing in her death scene. She must have the voice and "presence". In 1955, Callas had both, but first the presence. With Miricioiu, first the voice. Even Callas could not outdistance the even and brilliant tone of this star."
David Hunter - Opera Review
"Nelly Miricioiu, in her American opera debut, both sang and acted in world-class style, and won rising cheers for her performance as Violetta... she is superb."
Scott Beach - S.F. Examiner
SCOTTISH OPERA at LONDON COLISEUM (1984)
"Miricioiu gave a performance the like of which has not been heard in London for a very long time."
Harold Rosenthal - OPERA
WASHINGTON OPERA (1988)
"Nelly Miricioiu's voice thrills in Verdi's "La Traviata" ... Nelly Miricioiu conquered Washington... she had the audience at her feet after what must be counted as the most thrilling local debut in years... the party in Act 3 came alive when this woman sang.... this was Verdi artistry of the highest order."
Octavio Roca - Wasington Times
OTELLO - VERDI
"...at times it seemed like magic. When Nelly Miricioiu sang with vocal art like a sacrificial lamb and and an angel of innocence."
Tivoli Festival Info (Translation)
DON CARLOS - VERDI
"Nelly Miricioiu is a sublime Elizabeth. A great inhabitant of Verdian parts - she approaches it with an unbeatable technique. This British soprano sings the part with grace and emotion that illuminates the whole opera."
Martin Dumont - Mergeay - La Libre Belgique (Translation)
FRANCESCA DI RIMINI - ZANDONAI
CONCERTGEBOUW, AMSTERDAM (2000)
"...It was a historical "Matinee" last Saturday... There were two diva's. Nelly Miricioiu gave everything in the title role. Olivero, the queen-mother of the Matinee, listened full of admiration to the current queen of the "Matinee, Miricioiu. Those are events opera lovers dream of. Olivero whispered 'brava, brava, brava" in Miricioiu's ear. Other words cannot be found for Miricioiu's magnificent performance."
Peter van der Lint - Trouw
MACBETH - VERDI
QUEEN ELIZABETH HALL, LONDON (2008)
"In the dominant role of Lady Macbeth, Romanian soprano Nelly Miricioiu was not going to allow a concert performance to impede some full-blooded acting as she wandered through the violins in sequinned chiffon, reading Macbeth's letter. Verdi envisaged the role as requiring a singing actress of extraordinary character and Miricioiu, a prima donna to her fingertips, fits the bill. The voice is technically accomplished, dark-toned and with a dramatic edge."
Clare Colvin - Sunday Express